Artists
In addition to Nine Inch Nails and Marilyn Manson, the label also signed and released albums from 2wo, Pig, Pop Will Eat Itself, Prick, 12 Rounds, Einstürzende Neubauten, The The, and Meat Beat Manifesto. Additionally, Coil was under contract for a record but it was never delivered (though some of the songs from the slated Nothing album appeared in reworked form on The Ape of Naples and The New Backwards). John Bergin was also signed briefly under the name Trust Obey, but the album he recorded ("Hands of Ash") was instead released in 1996 on Fifth Colvmn Records with a sticker that quoted Reznor's reaction to the completed work: "Not a great commercial potential."
Nothing also distributed music from Warp Records, Sheffield, England's venerable electronic music label, under an exclusive license in the U.S., with albums by Autechre, Plaid, and Squarepusher (although Warp's most illustrious artist Aphex Twin appeared on the Further Down the Spiral release, he was already under a contract with Sire Records in the U.S. at the time). This distribution deal ended when Warp expanded operations into the U.S. market in 2001. Nothing also managed to secure the U.S. release of two albums from England's Blue Planet Recordings. The two albums were slightly different than the UK releases. Plug's "Drum and Bass for Papa" included an extra disc of tracks from earlier EPs, and The Bowling Green's "One Pound Note" omitted one track from the UK release due to problems with sample clearance.
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Famous quotes containing the word artists:
“In dealings with scholars and artists we are apt to miscalculate in opposite directions: behind a remarkable scholar we sometimes, and not infrequently, find a mediocre man, and behind a mediocre artist, fairly often—a very remarkable man.”
—Friedrich Nietzsche (1844–1900)
“The past is interesting not only for the beauty which the artists for whom it was the present were able to extract from it, but also as past, for its historical value. The same goes for the present. The pleasure which we derive from the representation of the present is due not only to the beauty in which it may be clothed, but also from its essential quality of being present.”
—Charles Baudelaire (1821–1867)
“The artistic temperament is a disease that affects amateurs.... Artists of a large and wholesome vitality get rid of their art easily, as they breathe easily or perspire easily. But in artists of less force, the thing becomes a pressure, and produces a definite pain, which is called the artistic temperament.”
—Gilbert Keith Chesterton (1874–1936)